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Volume 5 ׀ Render: The Carleton Graduate Journal of Art and Culture Cairn Cunnane’s Our Fence and the Public Art Program at the City of Ottawa By Sharon Odell MA Art History, Carleton University Cairn Cunnane’s Our Fence (2016) was unveiled to beside it, in addition to more central viewable angles, of our daily lives. the public during an inaugural event at Ottawa’s Bingham that are traditionally experienced with 3D sculpture. Public art commissions in Ottawa often accom- Park on June 4, 2016, as part of the city of Ottawa’s Pub- Cunnane refers to Our Fence within his portfolio, as be- pany major capital projects. The PAP is a major contrib- lic Art Program (PAP). Situated in an outdoor landscape, ing both figurative and architectonic art.2 The latter de- utor to the Ottawa culture as these sponsored art pro- Our Fence is decorated with stylized trees that sprout out scription refers to Our Fence’s utilitarian purpose that jects become a visible part of the cultural fabric of the to heights of 11.5 to 13 feet at either side of the central viewers can easily recognize; an art work having a dual city. It has three objectives: maintaining public art dis- entrance gate.1 Created out of polished stainless steel, feature of a visually entertaining protective boundary plays, commissioning competitions for local artists and the metallic grey fence extends 225 ft., with long linear for children in Bingham Park’s playground, set beside growing the city art collection itself. Since the program ripple wave designs underlying vertical posts that are the busy traffic of downtown Dalhousie Street. has access to a percentage of the capital project’s total spaced 4 inches apart. The handrail height is 40 inches Our Fence can be considered an artistic inter- budget, new art commissions are planned for public above the ground, and detailed figures throughout have vention for the introduction of safety however, at the sites, and are awarded to an artist based on peer as- been executed in a variety of sizes within a mix of over same time its objective is to serve a larger audience sessment and the committee’s recommendation. Art- 10 grouped and individual poses. The grouped figures than Ottawa residents,. Its intention is to promote a works created within the program are also maintained are taller than the average adult spectator at 6ft 6 inch- tourist attraction of what artistic talent can be seen in for the future indefinitely, as they enter the city’s collec- es, generating a larger than life visual experience for chil- our city too.. Moreover, the intention is to create a tion. The mandate echoes the goals of many other Ca- dren viewing them within the park. They blend into the lasting experience for community residents who inter- nadian city art museums: the Ottawa art collection is fence with sections of flat curved sheets of metal and act with Our Fence on a recurring basis. Cunnane in- tasked with preserving Ottawa’s visual art culture for lattice-work stylized bodies. The smaller figures are more tended this art work to become a familiar landmark--a future generations within its specific community.3 freely executed as sculptures, giving a playful effect to representation of home and belonging--as well as a the overall piece and lending a surprise element to those Established in 1985, the mandate of PAP is to functional object that also defines the community’s who realize their presence. The figures are devoid of dis- support, collect and promote art and artists within the common space. This, by comparison, is in great con- tinguishing facial characteristics, allowing the average city of Ottawa and outlying areas. When complete, pub- trast to the traditional model of fine art display found person to imagine themselves in the figures; However lic art commissions become part of the city’s art collec- in most museums and galleries. The viewer in a gal- each is dressed uniquely with different style hats ground- tion.4 Using Cairn Cunnane’s Our Fence (2016) as a lery setting is not allowed to touch the art on exhibit, ed in the past, suggesting that the figures are meant to model, this paper will explore and discuss the PAP’s much less interact with and make it a part of their illustrate a story. The partitions divide the narrative, remi- mandate to purchase, commission and select artwork everyday landscape. Whereas, public art not only can niscent of an architecturally sculpted comic strip, visually from local Ottawa artists. Our Fence highlights the rele- be touched and interrelated with, it can be opened, consumed by viewers though the act of walking along vance of historical and contemporary public art, and can closed, explored and set to function within the course 2 ׀Cairn Cunnane’s Our Fence׀ Volume 5 Odell ׀ Render be seen as an effective case study from which to exam- are popular because they serve that practical dual perative to understanding the function and meaning of ine how the many ways the PAP benefits the city of Otta- function. again sometimes taking the form of a bicycle Our Fence. wa, on many cultural levels for local residents, local art- rack, bench or in this latest example a fence. Situated in downtown Ottawa’s Byward Market, ists and for the preservation of local history. Today, the program has nine full-time employ- Bingham Park is the oldest area of the city. Since its Our Fence is a significant example in the city of ees with some of these staff members also working 1826 inception, Bytown Village (as it was formerly known) Ottawa’s collection, since the mid 1980’s when the as- within part-time roles. These projects often involve was settled by residents who moved to the area to con- semblage of art for the city expanded from its initial do- maintaining art installations at over 150 public sites struct the Rideau Canal. During that time, the city was nations and commissions to an official acquisition across Ottawa library branches, community centres, divided geographically, with Upper Town to the west of budget. This is when PAP began to prioritize the growth parks and City Hall displays for residents.6 As a result, the Rideau Canal (now called Centretown) and Lower of its collection known presently, with direct purchases the PAP exhibits local art to the public, while also Town to the east (now called the Byward Market). Cun- from local Ottawa artists. Today, the program houses, building a stronger art collection for the city. As a gov- nane’s art installation is located within Bingham Park’s distributes and maintains collected art for the city of ernment-funded organization, PAP must follow the perimeters of Sussex Drive, Clarence and Rideau streets Ottawa comprised of more than 2,500 artworks created city’s guidelines and policies. Nevertheless, there is and the Rideau Canal. The park’s front entrance opens by over 700 artists.5 These artworks are chosen for some degree of creative liberty allotted within pro- onto Dalhousie Street, which stretches between Cathcart their ability to be displayed in multi-purpose, publicly- jects. For instance, the commissions committee initi- Street and Bolton Street, near the Bruyère Hospital. Be- accessible spaces within offices and corridors of Otta- ates competitions for artist proposals that require fore the construction of the Rideau Canal from 1826 to wa’s network of buildings. Initially part of the program, individual assessment depending on the plan and the 1832, this swampland was densely settled by two-thirds the Karsh-Masson Gallery eventually became the offi- location. Once a location has been chosen, the artist of the Bytown population. The residents consisted of cial city gallery that serves as a space for annual exhibi- proposal is vetted by an assessment group of three or poor, primarily Roman Catholic families, mostly of Irish tions which highlight the collection. This gallery also more Ottawa residents who are visual art related pro- and French background. In contrast, Upper Town was set- assists local professional artists with exposure by show- fessionals within the city, or have other pertinent at- tled by a relatively wealthy British Protestant minority. casing exhibits of their artwork in order to disseminate tributes to the assessment process. This team evalu- Lower Town’s population changed little over the next cen- knowledge about them to the public. The gallery compo- ates the proposal in accordance with the PAP’s aim to tury, and in 1951 over 10,000 people were living in the nent of PAP supports, provides and promotes the exhi- develop an open and creative culture in Ottawa. Byward Market and surrounding area.8 The 1960s saw bition space by hosting emerging and established local, the beginning of a massive population decline as families Cunnane’s Our Fence is an excellent model of national and international artists and partners with moved to new suburbs. In addition, a policy of urban re- how the PAP handles art commissions. Inaugurated in graduate students. Art talks, performances, and other newal resulted in the eviction of many residents, whose late spring of 2016, this specific work provides insight collection-related events for the public also occur in homes were subsequently torn down. In 1986, the popu- into how such projects are developed in light of their connection to the exhibitions. Exhibitions are proposed lation was approximately 3,000. In contrast, today Lower historical context and chosen site. Moreover, Cun- by artists, curators, embassies and arts institutions. In Town’s population is trending upwards again as new con- nane’s recollection of the call to artists was that the addition, the PAP sponsors a third section of commis- dos are built in the area.9 Moreover, the Byward Market “public art for Bingham Park would need to integrate sioned art that is collected and displayed within a varie- has transformed itself into one of the city’s top tourist visually with significant elements that could provide ty of Ottawa’s public sites.

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